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LostArtPress on InstagramTexture describes the roughness or smoothness of the wood to the touch and visually. Smoother woods are generally more lustrous in appearance whereas open-pored woods are duller. Oaks and other hardwoods with similar growth patterns such as chestnut and ash (image 1), which collectively are known as coarse or uneven textured woods, make ring-porous wood. In the spring, the tree lays down a ring of open-pored wood well-suited to transporting liquids and, during the summer, they create denser, less-porous wood. The difference in the ability of spring wood and summer wood to take in and conduct water is well demonstrated when the two types of wood are dyed as part of the wood finishing or polishing process. The open-pored spring wood soaks up wood dye more readily and generally darkens more than the summergrown wood darkens. The spring growth of some timbers is so coarse the pores are readily visible – red oaks are a good example. Semi-diffuse-porous or semi-ringporous woods like walnuts show some differentiation in the pore size between spring growth and summer-grown wood in which the spring growth exhibits larger pores than summer-grown wood, but the borderline between one zone and the next is blurred (image 2). — from “Cut & Dried: A Woodworker’s Guide to Timber Technology” by Richard Jones #Cut_and_DriedBuilding a chair in front of 90 polite, inquisitive and intelligent woodworkers (many of them engineers) will keep you on your toes. Speaking to the @mnwoodworkersguild is not for newbies (this is high praise). This is where we finished up making a chair today. Tomorrow we will finish it.In St. Paul, Minn., for a three-day seminar with the @mnwoodworkersguild. Humbled both by the St. Paul cathedral next door and the woodworkers before me who have been invited to present this program. #shouldhavegottenahaircut
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Category Archives: With All the Precision Possible
At Lost Art Press, we don’t enter contests or seek awards for publishing, design, woodworking or… anything, really. (The reason we don’t do this is complicated. Buy me a bucket of beer some time, and I might tell you.) Despite … Continue reading
A week or two ago, I put up a short post and video about “The Other Roubo Bookstand,” a project taken from the plate 331 of André Jacob Roubo’s “l’Art du Menuisier,” scaled to hold the beautiful deluxe edition of the … Continue reading
This is an excerpt from “With All the Precision Possible: Roubo on Furniture” by André-Jacob Roubo; translation by Donald C. Williams, Michele Pietryka-Pagán & Philippe Lafargue. So Roubo could not very well do a comprehensive book on furniture making without including some mention … Continue reading
This is an excerpt from “With all the Precision Possible: Roubo on Furniture” by André-Jacob Roubo; translation by Donald C. Williams, Michele Pietryka-Pagán & Philippe Lafargue. Once the mouldings are cut, you finish them, that is to say, you shape them on … Continue reading
Before I travel, I make enormous lists of everything I need to do before I depart. At the end of each of these lists I should add this item: Get dumped on. Less than 24 hours before getting on a … Continue reading
This is an excerpt from “With All the Precision Possible” by André-Jacob Roubo, translation by Donald C. Williams, Michele Pietryka-Pagán & Philippe Lafargue. The following text is part of an essay about Roubo’s workbenches written by Christopher Schwarz. One … Continue reading